Unfortunately, Wes Anderson has finally disappeared into his own butt, and I say this as a fan of Grand Budapest Hotel and Fantastic Mr Fox. Every scene is gorgeous, the running gags are clever (especially the hand grenades and Liesl's refreshments), and Michael Cera's mid-movie hairstyle change was jaw-dropping. Wes Anderson's dreamlike style also feels right for Korda's frequent afterlife interludes. Unfortunately, his style hampers scenes set in the present. Nobody except Korda feels like a real person as they reel off dialogue like a patter song and walk across the exquisite sets from mark to precise mark. There's a real, tender story in this movie about how Korda and Liesl learn to meet each other halfway and find happiness, but it falls apart because Wes Anderson just doesn't let Liesl's actress show any emotion besides stoicity. Even a little bit of body language or variation in line delivery would go a long way (as it does for Korda) and poor Liesl gets none at all. 

2/5.